A Slinky, Catchy New Album from Nubian Dance Band Alsarah & the Nubatones
Alsarah & the Nubatones call their music “East African retro pop.” That designation may be historically accurate, but it hardly does justice to the Sudanese-born singer and her band’s enchanting blend of slinky Middle Eastern sounds, starkly bluesy folk and propulsive dance grooves. They’ve got a new album, Manara – streaming at Bandcamp – and an album release show on Nov 30 at 7:30 PM at the Poisson Rouge. Advance tix are $12, but get ’em now – the band pretty much sold out Flushing Town Hall, a much bigger venue way out in Queens, earlier this year – and the 7 train wasn’t even running that evening.
The album’s opening track, Salaam Nubia, is basically a retro 70s disco groove with blues riffage from Brandon Terzic’s oud over clattering percussion and wickedly catchty vocal harmonies. Alsaarah’s tender but resolute vocals soar over a lush bed of strings and accordion on Alforag, a warmly propulsive love ballad. Its austere soul/blues phrasing make a stark reminder of the blues’ African origins.
Albahr follows a moody, minor-key, bluesy sway, eclectic percussionist Ramy El Aaser fueling its dancing peaks as Terzic ripples and simmers, up to a spacious oud solo. Jyan Tiban opens with Mawuena Kodjovi’s suspensefully bass and skeletal oud and builds to a trickily rhythmic, hypnotic call-and-response vamp. Terzic’s edgily dancing lines interspersed between the vocals.
The band follows the gently lilting, catchy minor-key Ya Watan and its wryly backward-masked oud with Nar, a study in dynamics with its airy psychedelic ambience bookending a scampering groove and biting oud solo. The album’s understatedly majestic, intricately orchestraed title track rides a slow pulse lit up by distant, muted trumpet contrasting with incisive, low oud and El Aaser’s misterioso tabla.
With Eroos Elnill, the group returns to catchy minor-key call-and-response, insistent syncopation and some vocal leaps from Alsarah that sound more like Bjork than anything African. Alsilah blends hints of vintage rocksteady and gospel harmony into its warmly hypnotic, undulating sway. The catchy, camelwalking bassline and interweave of voices in Fulani echo Malian desert rock, while the concluding cut, Safr Minni makes an aptly psychedelic, crescendoing coda. All of this is just as accessible as it is utterly exotic to western ears – and this band puts on a hell of a dance party live.
Beyond the love songs and the dance numbers, the Arabic lyrics often reflect on loss and longing for home. Nubian territory has had strategic value for millennia and as you would expect, has been overrun with regularity. In the wake of mid-60s dambuilding, mass displacement followed, with thousand of migrants bringing their sounds to points further north. This music is a result of that.